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地点：国家艺廊，22 Konstitucijos Ave，维尔纽斯，立陶宛Duration: July 5–October 6, 2024 Location: National Gallery of Art,
22 Konstitucijos Ave, Vilnius, Lithuania
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茹特・莫尔克，《水果与拿铁》，2023，布面油画，140 x 80公分，55 1/8 x 70 7/8 英寸
Rūtė Merk, Fruits and Latte, 2023, oil on linen, 140 x 80 cm, 55 1/8 x 70 7/8 in
Photo: Andrej Vasilenko
关于展览
About the Exhibition
新技术如何改变身体的表现形式以及物质性的概念？作为一种古老的媒介，绘画能否反映我们时代的欲望和技术所给予我们的承诺？茹特・莫尔克在她的绘画中，通过肖像画和静物画等经典题材，捕捉了当代世界的状况，这个世界的特征是物质与虚拟、自然与人工、具体与抽象之间的界限在不断变化。![]()
图片致谢艺术家及立陶宛国家艺廊
Courtesy of the Artist and National Gallery of Art, Vilnius
Photo: Andrej Vasilenko
尽管莫尔克的肖像画与绘画史融合，它们无疑是运动服和商务休闲西装的时代的见证，而非传统的礼服和徽章。这些肖像代表了当今的流行文化、时尚以及千禧一代的特定习惯，它们源自艺术家的印象、片段记忆以及对数字文化的探索。这些肖像乍一看天衣无缝，是由艺术家个人数字图像档案中积累的大量不同身体碎片组成的。《Ariya》（2020）的面孔借用自热门电视剧《权力的游戏》中的角色，而身体的其余部分则是匿名的；《Jomantė》（2020）是通过各种图像来源拼凑而来，试图想象一个成功艺术画廊的典型员工，最终得名于艺术家学校里最好的朋友。而《Yssa》（2020）则是对一位驻柏林的白俄罗斯DJ的松散诠释。在抽象背景中漂浮的这些人物都表现出一种失重感，见证了艺术家试图探索“赋予非真实性以实体感”的尝试，同时，暗示了主体在面对永久变幻的现实时，不断变化的边界。几个世纪前，静物画家创作了狩猎战利品、成熟的水果和花卉的图像，试图传达死亡、生命循环和中产阶级财富的形象。在莫尔克的静物画中，当代的消费产品被美学化，成为经济繁荣象征。例如，无限放大的拿铁图案，仿佛是全球经济网络和焦虑文化生产力的寓言。艺术家的画作模糊了自然与合成之间的界限。比如，自然界中不存在的蓝色兰花或与画作完全相同的人工培育水果等意象，其意味着对自然界最私密领域的工程干预。
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图片致谢艺术家及立陶宛国家艺廊
Courtesy of the Artist and National Gallery of Art, Vilnius
Photo: Andrej Vasilenko
两幅类似构图的Aki Ross肖像画展示了莫尔克绘画风格的发展。与2015年表情丰富、笔触生动的《Greta》不同，2018年的《Spirits Within》，无论是色彩、视觉效果、人物建模还是构图都让人联想到为屏幕观看而生成的图像，如视频游戏和3D动画。而溶解的、模糊的、失焦的、奇异而令人不安的背景也仿佛是为机器的眼睛而非人眼设计。此次展览不仅让人们重思眼前所见，同时也借以探讨身处于屏幕时代的人们该如何看待这种杂糅的现象。
原文由Paulius Balčytis从立陶宛语翻译
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图片致谢艺术家及立陶宛国家艺廊
Courtesy of the Artist and National Gallery of Art, Vilnius
Photo: Andrej Vasilenko
How are new technologies changing bodies, their representation and the very concept of corporeality? What are the capabilities of the old medium of painting to reflect both the desires of our time and the promises of technology? Employing the classical genres of portrait and still life, in her paintings Rūtė Merk captures the conditions of the contemporary world, characterised by the shifting boundaries between the material and the virtual, the natural and the artificial, and the concrete and the abstract.
Although Merk’s portraits flirt with the history of painting, they are undoubtedly a testament to the era of tracksuit bottoms and business casual suits rather than vestments and regalia. Representative of today’s pop culture, fashion and the specific habits of the millennials, they stem from the artist’s impressions, fragmented memories, and a purposeful archaeology of digital culture. Seamless at first glance, these portraits are made up of a multitude of fragments of different bodies accumulated in the artist’s personal archive of digital images. Ariya’s face is borrowed from the character in the popular TV series Game of Thrones, while the rest of the body is anonymous; Jomantė is constructed from various image sources in an attempt to imagine the typical employee of a successful art gallery, and ends up being named after the artist’s best friend in school. Meanwhile, Yssa is a loosely interpreted portrait of a Belarusian DJ based in Berlin. Hovering in abstract backgrounds, these figures are characterised by weightlessness. They attest to the artist’s effort to ‘embody disembodiment’, the effect suggestive of the constantly moving boundaries of the subject when faced with a perpetually mediated reality.Several centuries ago, still life painters composed images of hunting trophies, ripe fruit and flower bouquets, as they sought to convey images of mortality, the cycle of life, and the wealth of the middle-class. In Merk’s still lifes, we find consumer products that have become attributes of an aestheticized modern lifestyle and economic prosperity. The latte motif, enlarged to the extent it approaches abstraction, aspires to serve as an allegory of global economic networks and the anxious culture of productivity. The artist’s paintings blur the distinction between the natural and the synthetic. Imagery such as blue orchids that do not exist in nature, or perfectly identical artificially bred fruit signify engineered interventions into the most intimate spheres of nature.![]()
图片致谢艺术家及立陶宛国家艺廊
Courtesy of the Artist and National Gallery of Art, Vilnius
Photo: Andrej Vasilenko
Two similarly composed portraits of Aki Ross, one of the first computer-generated film protagonists, demonstrate the development of the artist’s style. In Spirits Within (2018), unlike the expressive, gestural Greta (2015), the colours, visual effects, figure modelling, and composition are reminiscent of images generated by digital image editing software intended for on-screen viewing, such as in video games and 3D animation. The dissolving, blurry, out-of-focus, strangely uncanny backgrounds also appear as if intended for the eyes of a machine rather than a human being. The exhibition invites us to think not only about what we see but also how we see under the light of on-screen suns.
原文出处（点击“阅读原文”）
Source (Click “Read More”)
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图片致谢艺术家及立陶宛国家艺廊
Courtesy of the Artist and National Gallery of Art, Vilnius
Photo: Andrej Vasilenko
关于艺术家
About the Artist
茹特・莫尔克，1991年出生于立陶宛，现生活工作于柏林。莫尔克2013年于维尔纽斯艺术学院获得绘画学士学位，2023年毕业于慕尼黑视觉艺术学院。莫尔克以源自于学院绘画的传统技法，拟彷了物体由物质世界再现于数字景观中所生成的隔阂与误差，意在审视个体身份在网路算法经济系统中被激活的异化与整合。作品中的人物与物件通常以悬停的方式暂歇地被搁置在画布中央，摆荡在背景所描绘的无垠虚空之中。个体的差异性由此被消解，在同质化的共鸣中彼此呼应又相互孤立。平滑诱人的图像表面在艺术家的精心编造下，重建并检视图像在数字世界中广泛流通的审美形式，其中繁复劳作下的笔触痕迹被隐匿在几近无瑕、去人格化的完美中。历史文化的传统影响与人为介入的技术变革在她的画布上并存，勾勒了当下日常经验中科技导向的工程化崇高，以及随之而来注定为时代所汰换的焦虑与隐忧。劳动与闲暇的界线逐渐模煳、靠拢与交错，提示了现代生活相互连结却又无法逃逸的孤独，在身体逐渐退位的非物质转向间不断地游移在虚拟与真实的光谱之中。
个展包括：“Crisp3r”，Gallery Vacancy于弗里茲首尔，2024；“Promises”，立陶宛国家艺廊，维尔纽斯，2024；“Moments”，beacon，慕尼黑，2023；“XP”，Tara Downs，纽约，2023；“f(x)”，Gallery Vacancy，上海，2022；“Стрiлецька”，WT基金会，基辅，2021；“SS20”，Downs & Ross，纽约，2020；“单手接龙”，Gallery Vacancy，上海，2020。部分群展于：Green Family Art Foundation，达拉斯；Kunstverein München，慕尼黑；Margburger Kunstverein，马尔堡；Rupert，维尔纽斯；及当代艺术中心，维尔纽斯。莫尔克的作品于Green Family Art Foundation，达拉斯、迈阿密ICA、香港M Art Foundation、北京木木美术馆、维尔纽斯MO Museum、日内瓦现当代美术馆、南京四方当代美术馆、及北京X Museum收藏。
Rūtė Merk, born in 1991 in Lithuania, now lives and works in Berlin. She received her BA in Painting from Vilnius Academy of Arts in 2013 and acquired her painting diploma from Akademie der Bildenden Künste in Munich, 2023. Exploring the essence of human condition, Merk employs academic painting tradition to simulate the glitch generated from physical representations in the mediated world and the integration of identities under the conditions of cognitive capitalism. Figures and objects are usually depicted and suspended in the center of her composition in a homogenized manner, unified and isolated against the backdrop rendered in an alienating vastness and hollowness. The intriguing smoothness of her fabricated surface imitates and re-assesses the prevailing visual aesthetics in the digital sphere, concealing brushworks, the laborious endeavor, into dehumanized perfection. Meeting both the traditional and the artificial on her canvas, Merk contours both engineered sublime and concomitant anxieties of planned obsolescence in our technology conditioned life. The boundary between work and leisure is blurred, merged, and interlaced, illuminating the networked loneliness perpetuated and embodied in the immateriality shifting between the virtual and the realistic spectrum. Her solo exhibitions include: Crisp3r, Frieze Seoul with Gallery Vacancy, Seoul, 2024; Promises, National Gallery of Art, Vilnius, 2024; Moments, beacon, Munich, 2023; XP, Tara Downs, New York, 2023; f(x), Gallery Vacancy, Shanghai, 2022; Стрiлецька, WT Foundation, Kyiv, 2021; SS20, Downs & Ross, New York, 2020; and Solitaire, Gallery Vacancy, Shanghai, 2020. Her works have been featured in exhibitions at: Green Family Art Foundation, Dallas; National Gallery of Art, Vilnius; Kunstverein München, Munich; Margburger Kunstverein, Margburger; Rupert, Vilnius; Contemporary Art Centre, Vilnius. Merk’s works are in the collections of Green Family Art Foundation, Dallas; Institute of Contemporary Art, Miami; M Art Foundation, Hong Kong; M Woods Museum, Beijing; MO Museum, Vilnius; Musée d’Art Moderne et Contemporain, Geneva; Sifang Art Museum, Nanjing; and X Museum, Beijing.
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周二–周六
Tuesday to Saturday | 13:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
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